Starting at 1:13 through 1:58 during this Laws Of Gravity sequence video below the girl with the dark hair must have set some kind of cinematic world record when she says the word f##k around 25 times in about 45 seconds like wow damn what the f##k?! ha haa haaa haaaa haaaaa (*=*)

Starting at 1:13 through 1:58 during this Laws Of Gravity sequence video below the girl with the dark hair must have set some kind of cinematic world record when she says the word f##k around 25 times in about 45 seconds like wow damn what the f##k?! ha haa haaa haaaa haaaaa (*=*)

(08-18-2014, 02:20 PM)Cosmic August Wrote: Even though for some unknown reason it never seems to be listed within any of the numerous web sites that I've read containing long lists of films that say the word f##k the most > http://en.wikipedia.org/wiki/List_of_fil...%22fuck%22

Starting at 1:13 through 1:58 during this Laws Of Gravity sequence video below the girl with the dark hair must have set some kind of cinematic world record when she says the word f##k around 25 times in about 45 seconds like wow damn what the f##k?! ha haa haaa haaaa haaaaa (*=*)

Its not a fault at all when the writer is verbally expressing reality because everywhere around here thats exactly how people talk male and female like every fifth word spoken is either f##k or f##ks or f###er or f###ers or f###ed or f###ing as well as some rather profanely poetic combinations of those words for example "that mutha f###er is f###ing f###ed" ha haa haaa haaaa (*-*)

Quote: The film just took 12 days to shoot and the whole production cost was about $US38,000.

"Laws of Gravity" is a hyper-realistic docudrama and an excellent clinic on the loser mentality of the mean streets of Brooklyn. Focusing on the tribal order of several white urban hoodlums, this flick is about as real as it gets with actors...many of whom are on their first outing. A good watch for those into realism and crime films.

Although the performances are excellent, the plot is not as thin as many have suggested. Far from it. Pay attention and you'll see the conflicts build to a logical, explosive finale. The cinema verite style draws you in almost immediately and withstands comparisons to Godard. Bravo

I enjoyed this movie. A lot. It was intense, and there was essentially nothing predictable about it. The camera work gave you that hyper-realistic effect of being there. The acting was memorable, and for anyone who's known people like this (or been somebody like this), it was dead on. Highly worthwhile.

Although its debt to Mean Streets is obvious, this update is brilliant in its own right. The cast is perfect and Gomez's script unfolds like a Shakespearean tragedy. When they find this movie in 200 years, they'll think it was a documentary or some home movies, it's that real. The haters are the same people who would've dissed Mean Streets and can be safely ignored.

An absolutely flawless, pristine cinematic experience. A piece of true life, modern film doesn't get any better than this. I will not speak of the actors, because there is no acting. You live days in the lives of living, breathing people. If you have lived in a large city, the realism will so shock and beguile you that you will be left breathless. You smell the streets, you feel the silent despair, you know in your heart that something terrible, something tragic lurks around the corner for every character. A masterful, incredible experience that I am shocked so few have had the chance to enjoy. When all of us wanted to be filmmakers, this is what we wanted to achieve.

The first time I saw this movie was about six years ago on either Showtime or Cinemax can't remember which. I was blown away I missed the first few minutes and thought at first that I was watching a documentary. The hyper camera work, the dialog, the more than real life acting, and very believable situations. No Hollywood style glizt and glamour here. No big name actors, no multi-Jillion dollar budgets. Just basic film making in it's rarest form; raw, unrefined in other words REAL. Real characters, no complicated plots no surprise endings no Hollywood endings no explosions no car chases and crashes. This film is a real character study and you know how it's going to end, the only way it can.

It's a rare movie that makes you forget it's a movie. This film pulls it off on a budget of $38,000 (can that be true?) Nick Gomez should be up for best director/writer, and entire cast deserves kudos, especially Adam Trese and Paul Schulze, who give us the best on-the-edge-of- violence performances since Joe Pesci in Goodfellas. The story revolves around two buddies in Brooklyn who are involved in small-time crime to avoid work. One is a big-brother type to the other who is irresponsible and prone to slap his girl around and thereby alienate everyone around him. Into their life comes a long-lost friend on the run with a nice collection of hot pistols to sell.

I found one aspect that added to the film's 'realistic' look , a sound element. In a more 'conventional' film characters speak in turns, with some edited overlapping. But in this film, characters spoke all at once, which made the natural selective hearing process of the human ear even more inviting. Anyway, this is among one of the most creative films I've seen.

(08-19-2014, 02:51 PM)Cosmic August Wrote: Its not a fault at all when the writer is verbally expressing reality because everywhere around here thats exactly how people talk male and female like every fifth word spoken is either f##k or f##ks or f###er or f###ers or f###ed or f###ing as well as some rather profanely poetic combinations of those words for example "that mutha f###er is f###ing f###ed" ha haa haaa haaaa (*-*)

The problem with that is that real life is often boring, so duplicating it with detritus (eg a billion fekks) slows down the story and makes it less interesting.

It's like a child who starts asking "Why?" a million times. Sure it's real. Every child does it. But hearing it for 90 minutes ain't exactly a party.

For some odd reason your comment reminds me of the Harry Potter books.

A close examination of her writing reveals that she uses the perfect verb for each sentence. It's the verb that makes sense and creates a mental picture of exactly what she is trying to convey.

Go through two pages of one of her books looking for the verbs to see it in action.

Now replace 10% of those verbs with the verb "fekk." The same can be done with a noun or two or even an adjective, although you won't see as many adjectives in the Harry Potter books and probably very few adverbs (adverbs are the death of great writing because the right verb makes the need for an adverb superfluous in almost every case.)

The story will come across as drab and thoroughly uninteresting.

Fekk doesn't really mean anything. It means, "I've given up on paying attention to how I really feel and to what is really happening, or I don't know the word that describes either one of those two things."

Fekk reminds me of excess adipose tissue. It's there. It's hanging out, but it doesn't really do much of anything but hide what is underneath.

Isn't it amazing. The right verbs can turn a person into a billionaire. Yup, Rowling is a billionaire despite the high taxes she is forced to pay in the UK, and 90% of it is due to her verb choices.